Module 4, Chapter 8: Stitchery into paper

The main inspiration for these samples came from my CAD experiments. I loved the way that the letters form both structured patterns at one end of the scale and a jumbled 'mess' at the other.

One of my paper samples had a mish-mash of threads embedded into it. This had been the result of attempting to create a random style mesh. Although it hadn't come out as intended I did like the resulting pattern the threads made in the paper and the contrast the threads had against the brown paper pulp. On top of this I used the sewing machine to embroider lines of 'loop' stitches. I started by using red thread but then progressed to using black thread in order to bring another dimension to the sample. The results of this are in the image below.

Module 4, Chapter 8, image 1

Module 4, Chapter 8, image 2

The next sample was a drawn-thread paper sample. Once again I used the machine to embroider loop style patterns onto the surface. Initial I was following the natural lines of the threads within the fabric but deviated a couple of times across in a diagonal (cross grain) direction. I wanted to bring an element of the 'dashed' lettering style from my CAD work so used white and red threads to hand embroider the word 'cruise' on top. This did not quite have the visual strength I hoped it would have (and is not too easy to read!) however it did bring an interesting texture to the sample.

Module 4, Chapter 8, image 3

Module 4, Chapter 8, image 4

I decided to use the machine stitching in various patterns to embroider my red fruit netting paper sample. The more stitchery I added to this sample the more I like it. The stitching brings an intensity and interest to it.

Module 4, Chapter 8, image 5

As I am lucky enough to have a sewing machine with lettering stitches programmed into it I thought I would test out and see how the word 'cruise' would look. After testing on a scrap piece of fabric I produced two samples. On sample simply took each letter separately to stitch rows. The other wrote out the word cruise over and over. I made use of overlapping text on this particular sample. I also chose not to cut off the loose threads on this one as I loved the effect that they gave around the edges. This is something I could consider later on for my final piece? I was initially apprehensive that by using the pre-programmed letters my samples would be kind of 'obvious' however with all the layers I feel that they have worked quite well. It also helped that the lettering was simple in style such as the typography I had researched previously.

Module 4, Chapter 8, image 6

Module 4, Chapter 8, image 7

Module 4, Chapter 8, image 8

Module 4, Chapter 8, image 9

Module 4, Chapter 8, image 10

Module 4, Chapter 7: paper plus grids

In order to create my samples I first needed to create withdrawn thread samples that would later have paper pulp added to them. Below is an image of these samples before the paper process was added. I confess that after the time it had taken to create these to this stage of the process I felt loathed to do anything further to them as I really appreciated how they looked as they were. This is why I made the point of taking this 'before' photo just in case anything went wrong with them.

Module 4, Chapter 7, image 1: Before paper is added

I found adding paper to my samples was more difficult than I thought it would be. It was a fine line between not adding enough paper pulp and adding too much resulting in not being able to see the drawn thread work detail. The following images show a couple of my samples that I felt just showed the right amount of balance between the two:

Module 4, Chapter 7, image 2

Module 4, Chapter 7, image 3

As well as apply paper pulp to my drawn thread samples I experimented with paper pulp over random threads and over the fruit netting. A 'summary' of my samples is shown in the photograph below:

Module 4, Chapter 7, image 4

Note that other samples I produced for this chapter I reserved for developing further into the next two chapters of this module.

Module 4, Chapter 6: part 3: Experiments with drawn thread work and stitchery

For the final part of this chapter I experimented with both hand and machine stitchery on my drawn thread samples. I quickly discovered that my favourite technique was using the sewing machine. I loved how the machine naturally gathered the threads together to create a more structured effect. I tested out a range of stitch settings ranging from a zigzag to a closer satin stitch. The closer the stitches were the more dramatic the end result. I really appreciated the way in which the satin stitch emphasised the negative space by creating bigger 'gaps' between the threads. My best results were from where I used a gold thread against the black. 

Below displays a 'summary' of the samples I produced followed by close up photos of some of these samples.

Module 4, Chapter 6: part 3: image 1: stitchery samples

Module 4, Chapter 6: part 3: image 2: close up of sample

Module 4, Chapter 6: part 3: image 3: close up of sample

Module 4, Chapter 6: part 3: image 4: Close up of sample

Module 4, Chapter 6: part 3: image 5: close up of sample

Module 4, Chapter 6: part 3: image 6: close up of sample

Module 4, Chapter 6: part 3: image 7: close up of sample

Module 4, Chapter 6: part 2: Stitchery to decorate the drawn fabric

Following on my previous sample (where I withdrew threads then wove through these areas with ribbons and other trimmings) I created the same 'base' withdrawn thread sample backing. This time however I used hand stitching to add decoration through:

• Various embroidery stitches such as chain stitch
• Weaving the embroidery threads back through to create new patterns.
• Knotting the embroidery threads around clumps of the black threads in the sample

Additionally on one of the lines I tried threading through a ribbon with knotting it around clumps of threads.

My favourite effect within this sample is where the knotting of the threads around clumps causes 'columns' to form. These create new patterns by emphasising the negative space between them.

On a random note, the pink-black-white line reminds me of licorice allsorts!

Module 4, Chapter 6: part 2: Stitchery to decorate the drawn fabric

Module 4, Chapter 6: part 2: image 2 Close up of stitchery to decorate the drawn fabric

Module 4, Chapter 6: part 2: image 3 Close up of stitchery to decorate the drawn fabric

Module 4, Chapter 6: part 1: Ideas to decorate the drawn fabric

Using the black fabric (with the white warp threads) as a base I first drew out lines of blocks of threads across the width of the sample. Once the threads were withdrawn I had fun trying out a variety of ribbons and trimmings weaving them in and out of the withdrawn threads. As I had withdrawn the white threads the remaining threads were all black. This lead to a stripy effect across the ribbons and trimmings giving in my opinion quite a dramatic effect. On the bottom red ribbon part I used a zigzag stitch to warp the black threads a little. In one area this gives a slight chevron effect. This was however very tricky to keep in place to sew and I soon lost patience with this part of the sample.

Module 4, Chapter 6, part 1: weaving ribbons and other trimmings through the drawn thread areas

Module 4, Chapter 5: Exercise 2: Displacing threads

Module 4, Chapter 5, Exercise 2, image 1: All my samples together

Experimenting with colour:
For the most dramatic effect on the fabric I coloured onto samples black stripes in various patterns. I then pulled the threads to displace them rather than pull them out completely. The result was added interest and detail to my samples. I found it was the most effective when several strands were displaced in a block (or at least in twos) as only pulling one strand was a little too subtle. See images 2, 3 and 4 for close ups of some of these black stripe samples.

As gold is part of my colour scheme I went on to experiment with colouring the fabric with a gold marker pen before displacing threads. Unfortunately the gold did not stand out particularly well against the red. I then tried it against a black fabric but that did not work particularly well either so this idea was quickly abandoned.

The black fabric I used with the gold pen held my interest however as the warp was white and the weft black within the construction. I noticed that drawn thread work gave fantastic results because of this and I could play with pattern as a result. Pulling the white threads partially out gave a pleasing spotty effect to the fabric.

Finally with all the withdrawn threads I had collected I used these to weave and stitch back into some samples. These gave a range of interesting textures to the surface of the samples.See images 5 and 6 below.

Module 4, Chapter 5, Exercise 2, image 2: Displacing threads

Module 4, Chapter 5, Exercise 2, image 3: Displacing threads

Module 4, Chapter 5, Exercise 2, image 4: Displacing threads

Module 4, Chapter 5, Exercise 2, image 5: Reintroducing removed threads

Module 4, Chapter 5, Exercise 2, image 6: Reintroducing removed threads

Module 4, Chapter 5: Exercise 1: Drawn thread work

Initially I found the whole process of removing threads to be both fiddly and time consuming. Over time I developed my own technique and rythymn to it meaning it became a little easier and quicker for me. The use of a needle and quick unpick seemed to work as tools for me.

I created a number of mini samples using quite a fine lightweight fabric in my red accent colour. See below. The fineness of this fabric meant that I had to really concentrate when removing threads. Let's just say a number of samples initially went so wrong they ended up in the bin. I do not have any pictures of these but they ranged from disintegrated samples that were pretty much nothing more than piles of threads to samples that were littered with unintentional and unattractive holes in them. It was quite evident early on that the more threads that were removed the more delicate the sample became. This is definitely something to be considered in future samples.

Module 4, chapter 5, exercise 1: Drawn thread work